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UNDATEABLEWhen confident slacker Danny Beeman (Chris D’Elia, “Whitney,” ”Glory Daze”) takes Justin (comedian Brent Morin) on as a roommate, Danny unwittingly inherits Justin’s group of romantically challenged friends. Seeing himself as the ultimate player, Danny decides to teach the crew (who he dubs “The Undateables”) everything he knows about “the game of love.” For their first lesson, Danny takes the guys to an event hosted by his sister, Leslie (Bianca Kajlich, “Rules of Engagement”), who is a single mom with dating difficulties of her own. At first, Danny’s advice seems to pay off big-time: The shy guy talks to a girl, the no-filter dude learns it’s never OK to ask a woman when she’s due, and his nebbish roommate, Justin, goes home with a mystery woman. It’s not until the next day that they figure out it was Leslie! Talk about a bunch who just can’t get lucky! From the executive producers of “Cougar Town” comes a hilarious new comedy about the “do’s,” “don’ts” and “duhs” of dating. From Emmy-nominated executive producer Bill Lawrence (“Scrubs,” “Cougar Town”), Jeff Ingold and executive producer/writer Adam Sztykiel (“Due Date”) “Undateable” is a production of Warner Bros. Television and Doozer Productions. Scott Ellis (“Guys with Kids”) directs the pilot episode.DRAMAIRONSIDEIn the gritty world of the NYPD, no one’s tougher than Det. Robert Ironside (Blair Underwood, “The Event,” “The New Adventures of Old Christine”). He’s a fearless cop who won’t stop until the guilty are brought to justice. He and his trusted, handpicked team of specialists — Virgil (Pablo Schreiber, “The Wire” “Lights Out”), Holly (Spencer Grammer, “Greek,” “As the World Turns”) and Teddy (Neal Bledsoe, “Smash,” “Ugly Betty”), as well as his former partner Gary (Brent Sexton, “The Killing”) and boss Det. Ed Rollins (Kenneth Choi, “Sons of Anarchy”) — will do whatever it takes to solve New York’s most difficult and notorious crimes. As a detective, Ironside’s instincts are second to none, and those around him have to stay on their toes if they want to keep up… because when his spine was shattered by a bullet two years ago, Ironside swore he’d never let a wheelchair slow him down. Nothing gets in his way. From executive producer-writer Michael Caleo (“Rescue Me,” “The Sopranos”) and executive producers Teri Weinberg (“Ugly Betty”), John Davis, John Fox, Ron West and David Semel (“Heroes”), “Ironside” is produced by Universal Television, Davis Entertainment, Yellow Brick Road Productions.CHICAGO PDDistrict 21 of the Chicago Police Department is made up of two distinctly different groups. There are the uniformed cops who patrol the beat and go head to head with the city’s street crimes. And there’s the Intelligence Unit, the team that combats the city’s major offenses – organized crime, drug trafficking, high profile murders and beyond. Leading the Intelligence team is Sergeant Hank Voight (Jason Beghe), a man not against skirting the law in the pursuit of justice. Demanding and tough, only those who can take the heat survive under Voight’s command. Take Detective Antonio Dawson (Jon Seda) – despite his troubled history with his boss, Dawson has ambitions of running the unit… so if that means facing off against Voight every day, he’ll persevere. From the street cops with dreams of moving up to the elite crew who are already in, “life on the job” is a daily challenge. The enormous responsibilities that come with the territory take an emotional toll, as we’ll find when we follow the personal lives of our characters outside the walls of District 21. From Emmy-winning producer Dick Wolf and the team behind Chicago Fire, comes Chicago PD, a gripping, character-driven new police drama about those who put it all on the line to serve and protect. Chicago PD is produced by Universal Television and Wolf Films. Executive Producers/Writers are Dick Wolf, Matt Olmstead, Michael Brandt, and Derek Haas. Peter Jankowski and Danielle Gelber exec-produce. Joe Chappelle exec produces and directs.

Who knows how good the pilot actually was. That said, NBC continues to be clueless - just a cursory slate at all the other networks' Fall slates kind of suggests that the peacock is going to be stuck in fourth place again. Hell, the CW is looking increasingly solid - if NBC isn't careful they'll overtake them in a few years!

MistaT wrote:While I am all for an indy comic gettig a TV show greenlit, I really don't see much room in the market for a western.

This.

It'd be hard enough for a regular western to get greenlit on the networks these days, much less a supernatural one.

"I have my heroes, but no one knows their names"- Sons of the Desert

Strict31 wrote:I'm not sure that combining the nigh-uncontrollable power of LOLtron with the Nacireman is a good idea. Some years from now, when mankind is on the verge of extinction, we'll be able to look back and remember this moment, and say, "DANG."

on the subject of westerns, because I was just reading about this yesterday, but I think the idea that they fell out of popularity is somewhat inaccurate. They were victims of the rural purge of early 70's which claimed almost every rural themed television show in 71/72 season regardless of their relative popularity to be replaced with television that was viewed as more relevant. Obviously Westerns are no where near as popular as they were during the 50's/60's, where you had gunsmoke run for 20 years and over 700 episodes, but every time I see a well made western hit the theaters it seems to do well. I feel like the idea that a western would fail simply because it's a western as being akin to the concept that space movies fail simply because they are space movies that Twig is always obnoxiously propagating.

Rockman wrote:on the subject of westerns, because I was just reading about this yesterday, but I think the idea that they fell out of popularity is somewhat inaccurate. They were victims of the rural purge of early 70's which claimed almost every rural themed television show in 71/72 season regardless of their relative popularity to be replaced with television that was viewed as more relevant. Obviously Westerns are no where near as popular as they were during the 50's/60's, where you had gunsmoke run for 20 years and over 700 episodes, but every time I see a well made western hit the theaters it seems to do well. I feel like the idea that a western would fail simply because it's a western as being akin to the concept that space movies fail simply because they are space movies that Twig is always obnoxiously propagating.

Well, they really were losing relevancy back then though and needed to be sort of reinvented to thrive again. Some of the worn myths about the American Western frontier had to be discarded or brought more in line with our broader view of history, especially as relates to Native Americans. We were often telling ourselves too many of the same lies with the stories back then. I don't know if your article mentions this, but the 1970 publication of Dee Brown's Bury My Heart At Wounded Knee, among other cultural touchstones, had a lot to do with the changing face of Western stories.

Well, they really were losing relevancy back then though and needed to be sort of reinvented to thrive again. Some of the worn myths about the American Western frontier had to be discarded or brought more in line with our broader view of history, especially as relates to Native Americans. We were often telling ourselves too many of the same lies with the stories back then. I don't know if your article mentions this, but the 1970 publication of Dee Brown's Bury My Heart At Wounded Knee, among other cultural touchstones, had a lot to do with the changing face of Western stories.